During my time as the operator of my own radio facility, I always kept an eye on audio quality and the basics of how artists create a specific sound. The equipment I used, the amplification circuitry, even the level of saturation on the tape stock were all important details in achieving the sound I was looking for. By 1995 I found myself in the engineering department at KROQ (World Famous).

KROQ was the boot camp where I learned to apply the science of analog recording and mixing principles. It seemed like every week we would have a different band or artist with a different set of circumstances in our tiny 12 x 12 control room, or spread out through out the halls of the radio station. Sometimes it could be a mess on the 9th floor of 3500 West Olive ave. In this environment, there was a lot of pressure to get it right the first time, and many times we did not. That was the beauty of KROQ, however. KROQ was known as a sort of industry standard for failure in technical operations. At the same time though, it was also a proving ground for what could really work. KROQ’s two annual broadcasts, in particular, opened the door for even more interesting recording prospects. At that time, Westwood One had an exclusive contract doing all the outside recordings for CBS radio, and association with these organizations through KROQ provided me tremendous opportunities for learning and experimentation. By 2000 I was on my way to becoming a seasoned veteran, well versed in the dos and don’ts of multi-track and multi-channel mixing.

An opportunity opened at KYSR, (Star98.7,) now best known for the Star Lounge. The recording conditions at the Lounge left much to be desired, initially. Within months of my arrival, I was given the opportunity to take the Star Lounge over and began to take ownership of its recording endeavors. The Lounge gave me an opportunity to record artists in a semi-acoustic environment, one with very little emphasis on amplification or technology. It was what I called a, “Throw’n’go,” operation; artists entered the studio to sit down to play, and we recorded the results with zero ability to “fix” or enhance their performance. It was a trial by fire, but we managed to produce some fantastic recordings. As the Star Lounge’s reputation grew, so did the expectations, until what had started as a bare-bones studio set-up evolved into a complex, multi-track recording operation.

I first started using Steinberg’s Nuendo software while working with Greg Ladanyi (Jackson Browne, the Eagles, et al.). Greg had been in involved in the early stages of Nuendo’s development. He had a club/studio called Platinum Live in Studio City, CA. We had arranged for a broadcast and recording session with Tori Amos, and Greg was responsible for the recording. The gig was not without its issues, so I had to spend some time with Greg, helping him make repairs. What I liked about Nuendo was the way it responded like an audio desk. Any audio engineer who has spent time behind a Neve, or a Midas, or an older Yamaha really appreciates the tactile feel and honesty of a real desk.

I started JLC productions as a side project in 2012. I have long since stopped counting the number of artists I’ve worked with, and I still pride myself on getting things perfect, or as close to perfect as the gear will allow. My goal with JLC is to take my 29 years of experience in the radio and recording industries, and use the skills I have gained to help new and up-and-coming artists find their sound. Today’s recordings are mixed by artists, for artists. Sometimes they just need a little production nudge to focus them, to start things moving in the right direction. That is my purpose with JLC. I’m not here for fame. I am here because I have a real passion for music, for your art… Let me help you.

Thanks, Chuck Ide

Hi, I’m Chuck, owner/operator of JLC productions. Like most small businesses, JLC began with the idea that one guy can make a difference. In 1985 I landed my first gig with a local sound company. By 1991 I had my first job at a commercial radio station. You could say music, production, and broadcasting got into my blood early. I was hooked, even back then. In 1993 I took things further and started operating my own radio station out of my house. (I even achieved some local notoriety, only to be visited by the FCC twice, but that is another story.) From the beginning, and through it all, however, I always kept my focus on the music.